Selfuture Time.

Time traveling is one theme Russovoir tries to shy away from. Just when he finally understands the timeline of the story, it claims to have a twist by fucking up the calm of a well-thought brainstorming. This is why Back to the Future (1985) is one beloved time traveling film; it doesn't complicate. Not that Russovoir is a simple-minded movie aficionado. He really does try to understand, piece each scene together like it's broken glass. If still without luck, good luck.

Project Almanac (2014, below) is a recent time traveling coming-of-age film that to this day Russovoir neither embrace nor erase. Interesting lead, Lollapalooza feature, likable characters, Jonny Weston in particular, the beautiful love story, the delinquency and chivalry. For the most part, and only until the most part did the film suspend time in captivation. Then the ending caved it in. Pfft! Russovoir remembers feeling frustrated, or some semblance of betrayal. Either he doesn't understand the paradox of time, or it was a hypothetical and/or advanced paradox, in which case is confusing altogether (in comparison to time traveling 101 of Emmett Brown). This, nonetheless, doesn't disqualify the film to be worth your while. It is.

Jonny Weston (second from left) in Project Almanac.

Bradley King's Time Lapse is another story, a timezone of which in a different country. Let us begin by teasing the plot - it's so exciting: Imagine a camera that takes a photo of the future. Just a single polaroid - shake it! shake it! - photo, anything and everything in it dictates what's going to happen. That itself is one innovative hook, line, and sinker. It gets better! Each character has a motive that which complicates how these photos should be developed. Russovoir actually stood in applause for the climax and ending. Like a Patek Philippe watch, it's a film to pass on l'dor va'dor.

"We have to do what the photo says or we cease to exist."

You see, the advantage was the future camera was (deliberately) left a mystery or unspecified. Russovoir calls it the 'volatile prop'. The audience assumes its function from how the characters came to a decision how it actually works. The consequent brilliance was later shockingly revealed - duh! as the saying goes, "No one's the wiser." Russovoir felt dumb, not because the story hid a crucial element, however, he felt dumb because the screenplay had a... lapse. Genius!

Co-written and Directed by Bradley King.

  

Mad Max: Best Cinematography (please).

It's probably rash to foretell that Mad Max will get a nod from the Academy. For what its worth, Russovoir predicted Whiplash (2014) and Nightcrawler (2014) will see themselves on the coveted list.

The film was every definition entertaining, intense, and pure adrenaline rush. I couldn't imagine it in 3D, for Russovoir was already ducking, steering right for an incoming spear, stepping on the floor for gas, squinting from billowing sand, and cringing when something explodes, staged diligently thus shot fantastically.

"Remember my name!"

Russovoir wasn't looking at Charlize Theron, and that's effective role playing. Not that this is rare of her. But it wasn't just about her. And that's what Russovoir likes to point out. It was everything: the story, the color palette, cinematography, production design, Zoe Kravitz, Rosie Huntington-Whiteley - how badass she could be, Nicholas Hoult, and of course, the one and only Tom Hardy. 1979, 1985, and finally 2015, George Miller had waited thirty years for another chronicle of the franchise. It would not surprise Russovoir if pre and post production progressed (and perfected) over time; James Cameron's Avatar (2009) took twelve. The film is speechless perfection. Remember that time Michael Bay's Transformers (2007) changed the movie-going experience? Avatar (2009), how it gave lucrative necessity for 3D? The George Miller 1979 reboot has spoken: Hollywood, when provoked, will remind the audience why they are No.1 in making movies.